I get it: We moderns like lists. The six inhabited continents are messy, big, and multilingual places (yes, even Australia), and we would like the events therein to be curated.
Al-Mustafa Najjar continues with his interviews of authors shortlisted for the 2014 International Prize for Arabic Fiction, discussing Inaam Kachachi’s novel Tashari with its author.
Robert Allison is right: The desert is a fertile ground for novelists: “Not only in the otherworldliness of the landscape but also for its capacity to act as an existential sounding board for characters; such vast expanses of emptiness naturally encouraging introspection and reflection.” Yet his list of the “top 10 novels of desert war” focuses oddly on English-language narratives.
Translator Barbara Romaine was unable to make the March 22-23 conference on Radwa Ashour and her writing. She presents her tribute to a novelist of “exceptional humanity” here.
The Best Translated Book Award has announced the 10 finalists for its 2014 Best Translated Book Award (BTBA). Both Lebanese novelist Ahmad Faris al-Shidyaq’s Leg Over Leg, trans. Humphrey Davies, and Moroccan writer Mahi Binebine’s Horses of God, trans. from the French by Lulu Norman, have made the list.
From now through May 9, 2014, the editors and and organizers of the poetry collection A Bird is not a Stone are running a campaign to rise £3,000 to distribute the book more widely and to support bringing Palestinian poets to Scotland and England for a series of readings.
What stands between a book and its Jordanian reader? Why did Susan Abulhawa’s “Mornings in Jenin” fail to satisfy the press and publications law, or Hassan Blasim’s “Madman of Freedom Square”? How does censorship work?
Nearly 500 people made it to the original showings of Taxi, an “installation theatre” adaptation of Khaled al-Khamissi’s novel. Now the show — with new scenes and some new actors — is set to be staged in a new space, the GrEEK CAMPUS.
On April 21, Yehouda Shenhav, the Hebrew translator of White Masks, will speak on “Elias Khoury’s Language of Violence: Representing/Intervening/Translating.”
At 6 p.m. tomorrow, the new experimental, trilingual “Makhzin” will launch its first issue in Beirut. Editor Mirene Arsanios answered a few questions about the project.
Before I ever met Najwan Darwish, I’d imagined him in an impassioned frustration, throwing handfuls of promotional fliers in the air.
The work of Moroccan novelist Abdelrahim Lahbibi was little-known before his third novel, “The Journeys of ’Abdi, Known as the Son of Hamriya,” made it onto this year’s International Prize for Arabic Fiction (IPAF) shortlist. Al-Mustafa Najjar talked to the author about his sudden shift into the spotlight.